The Goan Tiatr has alot of music but it is not a musical drama. It has prose but it is not a prosedrama too. Right from its inception, tiatr has a particular format and hence itwas different from other forms of drama. It is because of this format that theGoan Tiatr is considered as a ‘unique dramatic form’.
The uniqueness of tiatr can be highlighted as follows:
The story of the tiatr is divided into 6 or 7 parts. Eachpart can be called one act but in tiatr language it is called a “podd’ddo”.Hence a tiatr can have six to seven “podd’dde”. The story begins in the 1st“podd’ddo”, runs without any disconnection through all “podd’dde” and ends inthe 6th or 7th “podd’ddo” as the case may be.
The history of tiatr is a witness to the fact that no tiatrhas become successful without comedy sequences in it. Hence tiatr since itsinception always had comedy sequence in every “podd’ddo” The comedy sequencewas directly linked to the theme of the play. In other words the comedysequences in tiatr were an integral part of the theme of the play.
‘Canto’ is a small song mostly one verse and one chorus ortwo verses and one chorus. ‘Canto’ isthe result of emotions of the happenings in the story of the tiatr which areexpressed through singing. In the past there used to be practically one ‘canto’in every “podd’ddo” in the tiatr.
‘Kantaram’ are songs which are sung in between every two“Podd’dde”. These were also called as ‘side show’ of the tiatr in the past. Thethemes of these ‘kantaram’ had no relevance to the theme of the story of thetiatr. In fact one, two or three ‘kantaram’ were presented in between every two“podd’dde” on the road scene so that enough time is provided to have new stagesetting done behind the curtain. It also provided enough time for the artistesto change their costumes.
‘Kantaram’ are of different types such as solos, duets,duos, trios, quartets, choral songs, etc. In the past, if there were twelve‘kantaram’ in a tiatr, it always had at least two duets, one or two duos, atrio, a quartet and even a quintet besides solos. This package of variety ofsongs in a tiatr adds to the richness of production of the tiatr.
In the past the tiatr always commenced with a song or“kantar”. The song could be a solo, aduet, a duo, a trio, a quartet, choral song or a song sung by many singers. Such a song was called the ‘OpeningChorus’ of the tiatr. Many a time the “Opening Chorus” was accompanied bynumerous beautiful scenes.
All the above aspects of tiatr constitute the ‘uniqueness’of tiatr. I have not come across such a format of drama anywhere in India orabroad. It’s Tiatr and tiatr alone which has such characteristics.
Unfortunately many tiatr artistes of present times do notadhere to the peculiar format of tiatr. They introduce comedy sequences in thestory which has no relevance to the theme of the play. Jokes are taken fromhere and there and acted on the stage in order to create laughter. The packageof songs which includes duets, duos, trios, quartets besides solos is also notmaintained. Solos are sung in plenty because it is easy for presentation. Underthese circumstances, a tiatr may be very successful commercially but a writer,a director or producer of tiatr cannot claim that he/she has contributed to thepreservation, promotion and development of Tiatr.
Tomazinho Cardozo is former president of the Tiatr Academy of Goa
